1.37:1 aspect ratio (Academy Sound Ratio), developed in the 1930s for 35mm sound film with optical soundtrack. Slightly wider than 1.33:1, optimized for acoustic space in film perforation patterns.
Billy Wilder's comedy was shot in the waning days of the Academy ratio, demonstrating how 1.37:1 enabled the intimate, character-focused compositions of classical Hollywood. LaShelle's framings exploit the near-square ratio for precise, theatrically resonant shots.
Michel Hazanavicius deliberately shot this silent-film homage in 1.37:1 to authentically reconstruct the aesthetic of the early sound era. The ratio here is not a technical relic but a dramaturgical instrument for time travel.
Wes Anderson explicitly used the 1.37:1 ratio for the film's 1930s-set sequences to visually encode the era. The shift between aspect ratios across different time periods turns the Academy format into a narrative signifier.
Kelly Reichardt chose the 1.37:1 ratio for this quiet frontier drama to create an intimacy with characters and landscape that wider formats cannot provide. Blauvelt uses the near-square image for meditative, essentialist compositions.
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The 1.37:1 aspect ratio was defined in the early 1930s in response to the introduction of sound film. Unlike the pure 1.33:1 format, sound film required space for an optical soundtrack on the physical film strip.
Developmental Steps:
Why this Value?
Aspect Ratio Specifications:
35mm Film Strip Layout:
[Perforation] [Image Area 18×13.1mm] [Soundtrack - Optical]Sound Quality:
The 1.37:1 format is practically obsolete and is only used in special cases:
Archival / Restoration:
Rare in New Productions:
Digital Equivalents:
| Aspect | 1.33:1 Academy | 1.37:1 Sound | 1.66:1 European | 1.85:1 Standard |
|---|---|---|---|---|
| Soundtrack | Variable | Optical mono | None (or external) | Digital or Dolby |
| Image Area | 4:3 Square | 21-Perf Standard | Optimized | Widescreen |
| Cinema Era | 1932-1950 | 1930-1950 | 1960-1990 | 1970-Present |
| Width Relative | 100% | 102% | 125% | 140% |
| Height Relative | 75% | 73% | 60% | 54% |
| Sound Quality | Full | Compromise | Full | Full (Stereo+) |
1.37:1 vs. 1.33:1:
1.37:1 vs. Modern Formats:
Major Productions in 1.37:1:
(Note: Some of these films were later re-mastered in different formats)
Relevant Standards:
Related Formats:
The 1.37:1 aspect ratio offers minimally more horizontal width than 1.33:1, but less than modern widescreen formats. For my cinematography, this means only slightly more side space in group scenes. The differences from the pure Academy standard are subtle and hardly influence my composition.
From a director's perspective, the 1.37:1 aspect ratio is practically identical to 1.33:1. The minimal difference – about 4% more width – is insignificant for storytelling purposes. I would only choose this format for absolute historical authenticity in sound documentaries or archaeological restorations.
1. Zu welchem Department gehört „Academy-Sound-Verhältnis / 1.37:1"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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